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ISSN 1409-6900 | UDK 82+7     Blesok no. 04 | volume I | August-September, 1998



                     Peer-reviewed journal
Blesok no. 04August-September, 1998
Gallery Reviews

The Macedonian Film in the Balkan Cultural Intertext

p. 1
Elizabeta Šeleva


The basic methodology standpoint from which this text grew from, is the semiotic-typology approach of the Tartu semiotic school, which (under the undoubtedly influence of Mikhail Bakhtin – one of the greatest philosophers of literature and culture in 20th century) postulated the term of the isomorphism between the literature / or any other art (in our case, the film) and the culture in whole as a complex Text constituted by a certain number of different semiotic modelative systems.
    If we accept the film text (as analogy with the literature) as subgenera of the cultural text – as Yurii Lotman says – then we come to a conclusion that: “the inner organization of the art literature (in our case – the film) is isomorphic to the culture as it is, and it rephrases and repeats the general principals of that organization”.
    So, the phenomenon of the culture is taken as a primary one, while in the structural organization of the artistic text (here – the film) we seek for the isomorphic characteristics which show the deep and indisputable cultural disposition of the particular film's artistic modeling system.
    Taking into consideration the methodological basics of the comparative literature science, we come to the second relevant methodology standpoint in our approach to the Macedonian film: the theory of the poly-systematic qualification of the art phenomena in ones national literature, and in proper analogy – the ones national cinematography.
    “Every national literature is a mono-literature system for itself, but almost any phenomena can be present in some other system also – no matter if it is epochal, regional or else.” – says the eminent European comparativist from Innsbruck, the academic Zoran Konstantinović.
    In our case, it means that the Macedonian film, besides the fact that it belongs to its mother-system of the National cinematography, it can belong to the any other system: the system of the postmodern culture, or the genre system of the action, the horror, the thriller, the historical spectacle or any other film genre. And finally, it belongs to the regional system of the Balkans, which unites in itself many components: geopolitical, but cultural also.
    “We'll never understand any of the Balkan nations, or ethnical group and their literature or culture – if we study them isolated one from another, and without considering the whole Balkan milieu; because, the semi-island of the Balkans is more than a geographical wholeness – it is a historical and a

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